warehouse public art

Public Art in the Warehouse District


The adoption and the implementation of complete streets policy in the Warehouse District has provided Peoria the foundation to explore other strategies to further assist revitalization in underutilized areas of downtown. One such opportunity warranting exploration is the development of a public arts program and policy to be implemented on a test basis in the Warehouse District, and if successful expand to other districts throughout the city. The following report discusses the purpose and validity of a public arts program and explores appropriate funding and implementation strategies.

PUBLIC ART

Public art is not limited in shape, size, or medium. Its expression can be abstract, realistic, or a combination. The piece may be site specific or in complete contrast with its location. It can encompass any form of art, including visual, tangible, light, sound, or performance. What distinguished public art are not its physical characteristics, but the unique association of how it is made, where it is located, and what meaning it provides to its community. This form of art is relegated to public site, exposed and available to all citizens and exists as a type of collective community expression. Often, it is the communication of an artist vision at a specific place and time as to provide the city, district, neighborhood, or block a collective sense of self.

As technology and modes of expression evolve, so will the definition of public art; therefore, any program, policy or strategy should remain flexible and open to welcome the inevitable changes. Material and method often become a timestamp of contemporary culture, and their evolution in public space allows participants, spectators, and citizens to experience history while staying firmly rooted in the present. Ideally, public art is guided by profession expertise and public involved to seek out the most imaginative and productive affinity between artist (or artwork) and community.

Art for the People

In a diverse community, all art cannot, and should not, maintain universal appeal. The purpose of art is to attract attention, and on occasion insight discussion and controversy. Varied popular opinion is inevitable and to be expected; in fact, many of the most iconic public art pieces, including the Eiffel Tower, were detested at their debut only to be embraced later as the symbol of the city. The key to successful public art is embracing a collaborative and communal course of action. To some degree, every public art project is an interactive process involving artist, architects, design professionals, community residents, civic leaders, politicians, various agencies, and builders. When seeking the best, highest use of public art, these collaborators should strive for commitment to invention, boldness, and cooperation—not compromise.

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Significance of Art in the Warehouse District

Cities gain value through public art – cultural, social, economic, and environmental value. Public art is a distinguishing part of public history and evolving culture. It reflects and reveals society, adds meaning to cities and uniqueness to communities. Public art humanizes the built environment and invigorates public spaces. It provides an intersection between past, present and future, between disciplines, and between ideas. Public art is freely accessible.

Public art brings artists and their creative vision into the civic decision making process. In addition the aesthetic benefits of having works of art in public places, artists can make valuable contributions when they are included in the mix of planners, engineers, designers, elected officials, and community stakeholders who are involved in planning public spaces and amenities. Artists bring their own creative skill set to those conversations, which can also inspire creativity in others, ideally bringing the means of decisions and problem-solving to a more responsive and imaginative result. There is a public art continuum that appreciates the varied creative intentions and roles that artists may bring to a project. Artists may be invited by an official entity, a project may be artist-initiated, or work may take the form of a non-sanctioned artistic endeavor. However, artists inevitably bring personal and distinctive interpretations to each idea, site, social construct, and aesthetic potential. In this way, artists can be social and civic leaders, advocating through art for alternative perspectives that can challenge assumptions, beliefs, and community values.

Objective of Public Art in the Warehouse District

Cultural Objective

American cities and towns aspire to be places where people want to live and want to visit. Having a particular community identity, especially in terms of what towns look like, is becoming even more important in a world where everyplace tends to looks like everyplace else. Places with strong public art expressions break the trend of blandness and sameness, and give communities a stronger sense of place and identity. When one think about memorable places, they think about their icons – consider the St. Louis Arch, the totem poles of Vancouver, the heads at Easter Island. All of these were the work of creative people who captured the spirit and atmosphere of their cultural milieu. Absent public art, we would be absent our human identities.

Public art is a reflection of its place and time. It acts as a place marker in all human settlements. Artworks like Cloud Gate in Chicago's Millennium Park are intertwined with our images of those cities. Transient artworks, like Christo and Jean Claude's Running Fence in California or the Sultan's Elephant in London, have become memorable moments in time, captured in picture postcards and in family photo albums. Public art activates the imagination and encourages people to pay attention and perceive more deeply the environment they occupy. Public art stimulates learning and thought about art and society, about our interconnected lives, and about the social sphere as a whole. Public art is uniquely accessible

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and enables people to experience art in the course of daily life, outside of museums or other cultural institutions. Public art provides everyone in the community direct and ongoing encounters with art. It engages social interaction—both during the selection process and following installation. And, an artwork can lead the viewer toward self-reflection and awareness.

Social Objective

The effort of creating art for public space is not solitary: the public art process asks the artist to share his/her creative point of view and approach to art-making, and to collaborate with others throughout its development. In consequence, the work can reverberate throughout the community, thereby encouraging a sense of shared ownership and collective affiliation. The inclusion of artists' thinking, creative input, aesthetic contributions, and problem solving methods in the public realm engage ways of working in the built environment that are different from the approaches of practitioners of other disciplines because their concerns are different.

Economic Objective

The intangible benefits of public art—aesthetic beauty, cultural interpretation, education, inspiration, and general improvement of the urban environment—are well-known. But because these are considered "soft" benefits, they are sometimes dismissed as a low priority, especially during challenging economic times.

As has been witnessed throughout history, public art can be an essential element when a municipality wishes to progress economically and to be viable to its current and prospective citizens. Data strongly indicates that cities with an active and dynamic cultural scene are more attractive to individuals and business. Public art can be a key factor in establishing a unique and culturally active place. Public art can create civic icons, but it also can transform playgrounds, train stations, traffic circles, hospitals, water treatment facilities, and airports into more vibrant expressions of human imagination. By building and reinforcing community culture, public art can act as a catalyst for community generation or regeneration. In this case, size does not necessarily matter. Public art can be very visible, large, permanent and unmistakable as an art experience; but it can also be very subtle, short lived or seamlessly integrated into one’s experience of a place. Public art matters.

Beyond its well known qualitative impact, the economic benefit of public art can be quantified in dollars generated within the local markets. Americans for the Arts, a national non-profit, has prepared an economic impact study recognizing the monetary value of art to the Tri-County region and concluded art in our region generates more than $20 million for the local economy. See Appendix I for Americans for the Arts 2010 “Arts and Economic Prosperity IV” Report.

Environmental Objective

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More recently, municipalities have been using public art to engage and educate the community about environmental issues. The argument has been made that to be effective stewards of the natural environment one must also be effective stewards of the urban environment and this effort should extend to public art. Artists in this category act as interpreters to translate themes of conservation, restoration, or rehabilitation while using ecologically sensitive materials. The most prominent examples of environmental art are found in the Pacific Northwest where cities like Portland and Seattle commission public art to draw attention to local water conservation efforts. The art can serve multiple purposes including representing/interpreting ecological issues, interacting with the natural elements (especially rainwater and natural stormwater systems), and remediating on site hazards (ie; phyto-remediating landscape architecture). Communities who commission public art for environmental objectives often find contaminated brownfield sites ideal locations to draw juxtaposition between the beauty of the environmental system and the harshness of industrial development.

THE WAREHOUSE DISTRICT

Existing Condition and Current Development of Public Art

The Warehouse District is home to a burgeoning artist community. In addition to established studios within the Murray Building and 825 Adam, jewelry makers, musicians, painters, sculptors, photographers, and potters occupy properties throughout the district. Not only are the warehouse structures ideal for the flexible needs of artist, many of these properties retain unique artistic elements and historic murals from their previous uses. Artist within the community are supported through services provided by ArtsPartners and Central Illinois Artist Organization (CIAO).

Through the redevelopment of the streets through the Tiger II grant execution, 11 distinctive arts spaces were constructed (see Appendix II for map). Each arts space is five feet square and located adjacent to the newly installed rain gardens. In addition to the above identified spaces, there exist the potential to inlay art into the sidewalk. The construction team included spaces within the sidewalk where brick pavers were set as placeholders, and could be removed to insert art when it became available and appropriate. No formal programming, financing, policy, or maintenance approach was developed for these spaces beyond their construction. No strategy or oversight was proposed in either grant application or overall district plan. The arts spaces are available for public art and reside under the jurisdiction of the City of Peoria.

Future Public Arts Opportunities

Third Coast Design Studio and ArtsPartners identified the following additional opportunities:

Gateways 1. On Washington Street south of Cedar Street near Tri-City Machine a location was identified for a future Warehouse District Gateway that extends over the street. The design was inspired by the historic architecture of the area and the physical elements of some of the industry that you find within the Warehouse District.

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2. Near the intersection of Washington and Persimmon a smaller, pedestrian-scaled gateway is proposed. Also, along Washington near the Bob Michel overpass on the south/west side, there is another opportunity for a pedestrian-scaled gateway (similar to Persimmon) marking the entrance to the Warehouse District.

3. The Cat skywalk near the intersection of Washington and Hamilton is another opportunity for a gateway feature into the business district. This could be an opportunity for public art as gateway.

Public Art Opportunities 4. At the north/west corner of Oak and Adams, there is an opportunity to transform the bland concrete plaza adjacent to the ballpark into a vibrant, interactive space. This is not public right-of-way, but it is a great opportunity nonetheless. There are multiple ideas for this space including a sculpture garden and spray ground. There is also an opportunity at the main entrance to the ballpark, though it is intended to be less programmed than the plaza at Oak and Adams.

5. At the intersection of State and Adams near the ballpark, there is a great opportunity for a landmark feature that would terminate the vista of State Street from the Warehouse District. 6. A right turn lane at the intersection of Washington and State that is being removed as part of the Washington Street project will be transformed into a small pocket park. This small park is an excellent opportunity for public art. The public art in this location may also be informational about the district or one of many celebrations of its heritage. There are several opportunities for art in this space, but the obvious one is the center of the compass inlay.

7. The center of the roundabout at Harrison Street is another great opportunity for public art that includes verticality and provides 360 degree viewing. This intersection also acts as a gateway of sorts, or transition, for both the Warehouse and Business districts.

8. The center of the median at the intersection of Fulton and Washington (Business District) offers another opportunity for public art that creates a terminus for Fulton right near the new museum. There are some utility issues in this area, so further investigation must be done to identify the opportunities in this location. The harshness and darkness of this overpass creates a barrier between Downtown and the Warehouse District. Public art could be used in this location to uniquely light the underside of the overpass, which could make it more inviting to pedestrians.In our discussions with property owners and others, May Street (alley between Washington and Adams) was identified as an opportunity for public art along a vehicular/pedestrian way.

Public Art at Intersection Several intersections along Washington were identified as opportunities for public art including Persimmon, State, Harrison, Fulton (Business District) and Hamilton (Business District). While opportunities at some of these intersections have been identified above, there could be other opportunities at these intersections.

Wayfinding at Intersection Several intersections along Washington were identified as wayfinding and/or public art opportunities including Oak, Walnut, Liberty (Business District) and Main (Business District).

Other Opportunities:The area around the ballpark can better create its identity within the framework of the Warehouse District. Concepts for interpretive wayside exhibits and other identifying elements can be concentrated around the Oak and Jefferson and Oak and Adams intersections. There may also be an opportunity to develop some unique designs that can be incorporated into the streetscape elements such as the planter fences. There is truly no shortage to public art opportunities in the Warehouse District.

Administration Strategies for Warehouse District Public Art

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The first stage in creating a public arts program in the Warehouse District is to identify an administrative body. This body would be charge with the task of acquiring permanent accessions, recruiting and retaining artist, and executing project RFP. In addition, the administrative office must be prepared to review proposals, maintain installations, and perform de-accession when necessary. In order perform these tasks there must be a clear system of accountability and a sound funding strategy.

Today, there are more than 350 public art programs that support thousands of artists’ projects in airports, train stations, libraries, parks, streetscapes, government buildings, and neighborhoods—urban, suburban, and rural. The majority of public art programs (81 percent) are housed within a public agency—an office of cultural affairs, arts commission, or some other operating department. Most programs involve volunteer commissioners and committee members in addition to a significant amount of staff time. Many programs also contract with outside vendors, such as planning consultants, conservators, public relations specialists, Web designers, writers, researchers, and photographers.Some programs have begun to hire artists to serve on design teams and participate in city planning or use artist-in-residence strategies to engage communities in the process.

Funding Strategies for the Warehouse District Public Art

Most public art programs are funded by a “percent-for-art” strategy—first used in Philadelphia in 1959—in which a small portion of capital improvement funds are allocated for acquiring or commissioning artwork. Beyond the typical “percent-for-art” model, there are a variety of funding mechanisms employed to support public art. These include annual appropriation, departmental allocation, hotel/motel tax, sales tax, tax increment financing, development fees, foundation grants or private gifts, corporate sponsorship, benefit auctions, and fundraising events. Monuments and memorials are usually funded through a combination of public and private sources. Public art initiatives can also be found within state departments of transportation, neighborhood revitalization programs, and community development corporations.

Percent for the arts programs tied to taxes are ideal because they allow for a continuous source of funding and do not place the financial burden on private developers or specific interest groups. These programs are most successful when they are tied to percent of CIP, TIF, hotel/motel tax, or motor fuel tax. When public arts programs are tied to developer fees, they are often one time funding injections and dependent upon continued private market investments to be sustained. Unless the fee is assessed every year, there is no way to ensure a funding stream to maintain and develop a strong public arts program. Furthermore, developers have responded that requiring a fee based on overall project costs (to be used for public art) detour future investment within the district. Fees associated with environmental impact, such as storm water fees, are collected annual and could prove a viable funding source for a public arts program, but again would impact the cost of development within the district. All these sources can be supplemented by private endowments, public fundraising, or grants. These alternative strategies do require additional dedicated administration time and do not guarantee stable financing.

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Final Recommendation

Currently, the Warehouse District lacks the formal governance structure to ensure the success, retention, and expansion of public art within its jurisdiction. Without a concerted and deliberate public art focus by the city, it is recommended that Peoria partner with Arts Partners or the newly proposed Downtown Development Authority to oversee the facilitation of public arts projects. It should be noted Arts Partners has already established a relationship with the city and receives financing through a percent of hotel/motel tax. Also, the organization has developed a Peoria Public Art Ordinance (see Appendix III) that would begin to satisfy the need for creating a formal governance strategy as well as executing public art. As a temporary measure while no formal programming exists, these spaces could be utilized by their neighboring property owners.

Funding for public arts program would best be provided by a percent-for-the-arts ordinance that would supply a steady stream of financing with a budget on par with cities of similar size (ie; outstanding public arts community Eugene, Oregon). A budget that would allow for administration, maintenance, acquisition, and artist recruitment would ensure a public arts program with long term viability and noticeable community presence. It is less desirable link public arts to funding that places the burden on developers or private investment as either may be short term and/or unreliable funding solutions. Ideally, a strategy for the Warehouse District will ensure that any art programming activates the area and has long range implementation so as to avoid becoming stale or mundane. Using a long term public art implementation strategy could ensure each patron in the District has a unique experience every visit.

Summary

Public art can be a benefit for any city seeking to improve the economic, cultural, or environmental vitality. Implemented in many forms and through many mediums, public art provides the community with an opportunity for shared expression and identification. By adopting a public arts program in the Warehouse District, Peoria has the potential to jumpstart revival and bring life and expression into an underutilized area in the center of the city. The proper administrative body with a reliable funding source will ensure a public arts program in this District will be a success.

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Appendix I

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Appendix III

City of Peoria Public Art Policy RecommendationsSection 1 Introduction1.1 Definition1.2 Benefits1.3 Guiding principles1.4 Objectives1.5 Limitations1.6 Relationship to Community Planning

Section 2 How the Objectives Will be Met2.1 Establish Public Art Advisory Committee (PAAC)2.2 Integration of Art into Urban Fabric2.3 Temporary Art in Public Places2.4 Community Art in Public Places2.5 Funding

Section 3 Public Art Advisory Committee (PAAC)3.1 Composition of the PAAC3.2 Responsibilities of the PAAC3.3 Code of Conduct3.4 General guidelines

Section 4 Collections Management4.1 Acceptance of Gifts, Donations and Bequests4.2 De-accessioning of Works of Art

Section 5 AmendmentsSection 1 Introductory StatementThe City of Peoria Public Art Policy has been established to guarantee an approved, fair and

consistent public selection process of public art so that all the citizens of Peoria can access and participate in the cultural, economic and social developmental opportunities afforded by public art. It will provide stewardship for public art and municipal collections, and ensure that public art is included in

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the planning and design of publicly accessible spaces. It will also ensure that public art continues to make our environment visually engaging, while reflecting our heritage and cultural diversity.

1.1 Definition of Public ArtPublic art is an original work of art installed indoors or outdoors permanently or temporarily in

such a way as to permit viewing by the public. Public art is intended to be an integral part of the environment and be interactive with its surroundings, and to encompass a wide variety of art work that may extend beyond traditional forms. Examples of public art may include but are not exclusive to sculpture, statues, murals, functional art (e.g. seating, lighting, covers, sidewalks, etc.).

This policy will apply to public art that is created, facilitated, owned or maintained by theCity of Peoria.

1.2 Benefits of Public Art to the City of PeoriaPublic Art: Provides fresh insights that lead to a better appreciation of cultural heritage and encourage an investment in Peoria’s future by innovative companies and creative people; Creates a clear sense of community pride and identity; Enriches the daily life of Peoria, enhancing its physical and cultural environment; Serves as a catalyst to economic development and tourism; Encourages mutual understanding of the diverse cultural nature of Peoria and acts as a bridge between different groups and generations of people; Develops a more pleasant and livable community as part of the City’s infrastructure; Demonstrates the City of Peoria’s responsibility to provide cultural opportunities for its citizens and presents a positive image to visitors and potential investors.

1.3 Guiding PrinciplesThe guiding principles of the Public Art Policy ensure that public art activities will: Be accessible to all citizens by providing opportunities for participation that areequitable and inclusive; Be flexible to encourage a wide variety of creative expression, art practice and artwork; Be integral to civic planning; Be supported with adequate resources to create and preserve its significant publicart works; Encourage excellence, quality and innovation; Demonstrate the significance of art in community life; Create cultural links through the promotion of opportunities for community development, community engagement and community partnerships.

1.4 ObjectivesThe Objectives of the Public Art Policy are: To demonstrate through projects, that public art can significantly enhance Peoria;

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To provide a fair, equitable selection process for the acquisition and installation ofpublic art; To ensure that through its selection process, qualified artists provide a variety ofarts and cultural expressions that are compatible with development aspirations; To encourage community members to participate in developing the resources ofpublic art to reflect the diverse cultural nature of the City of Peoria.

1.5 LimitationsThe Public Art Policy will not cover: Heritage or historic buildings and landmarks; Privately owned works (except when they are located in municipal spaces); Community arts programs (except when they result in a permanent installation ofpublic art).

1.6 Relationship to Community Planning The Public Art policy relates to Community Planning in the following ways:Goal:To create a distinctive community identity that builds upon and enhances thetraditional and “historic” qualities of (specifically) Peoria’s Warehouse District and characteristics while distinguishing it from surrounding communities.Objectives:1. Maintain and enhance the Warehouse District’s unique, urban industrial atmosphere and character.2. Ensure that new development and redevelopment compliments and reinforces theexisting desired character of the community within the Warehouse District.3. Maintain the attractive streets, pedestrian scale and other distinguishingqualities of Peoria’s Warehouse District.4. Upgrade the image and appearance of existing commercial areas, including buildings,parking lots, signage, landscaping and the public rights-of-way.

Section 2. How the Objectives Will be Met

2.1 Establishment of Public Arts Advisory Committee A Public Art Advisory Committee (PAAC) will be established by the Mayor of Peoria that is responsible for reviewing all gifts, loans, and public art exhibitions proposed by individuals, organizations, and neighborhood and community groups. The mayor-appointed committee is broadly representative of Peoria, including citizens, community leaders, artists, arts organization representatives, arts educators, and design professionals (registered architects, landscape architects, interior designers, and professional engineers). The committee is comprised of no less than 13

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members, several of which are professional artists. The PAAC can also include non-voting ex-officio members as needed and can make recommendations to the Peoria City Council.

2.2 Integration of Arts into Public PlacesA key feature of public art is the integration of art into the urban fabric of Peoria in order to

enrich and enhance the physical and cultural dimensions of the City and particularly, the Warehouse District. Public art can transform and enliven public spaces, contributing economic and aesthetic benefits such as tourism. It can forge links with Peoria’s rich heritage and develop an appreciation of different cultures. It will provide lifelong opportunities for access to the arts, enhancing the quality of life of the community and its residents and visitors.

Ensuring that artistic design becomes an ever-increasing component of the Warehouse District’s urban fabric, the potential for integrating art, including functional art, into the designof public spaces should be an active consideration in all commercial and capital development projects in the City. As new construction takes place within the Warehouse District, funds will be set aside for public art acquisition and installation.A. For new construction of 25,000 square feet or more, whether public or private, 1% of the building permit construction total will be required to be put in escrow with the City by the developer for the purchase and installation of public art. The art work may be installed on either the private building site or on public property, by mutual consent of the developer and the City.B. For new construction of 15,000 to 24,999 square feet, whether public or private, l/2% of the building permit construction total will be required to be put in escrow with the City by the developer for the purchase and installation of public art. The art work may be installed on either theprivate building site or on public property, by mutual consent of the developer and the City.

2.3 Temporary Art in Public PlacesAn increased emphasis will be given to promoting temporary public art works, which enliven our environment, raise awareness and stimulate discussion about public art. A list of possible sites where artists could locate public art works will be developed, and a process established for artists seeking to create a temporary exhibition/art work. There may be opportunities for promoting temporary public art works, possibly with a focus on regular temporary exhibitions.

2.4 Community Art in Public PlacesPublic art aims to assist communities towards self-celebration and self-definition through

the expression of a sense of identity and the creation of civic consciousness. It encouragesactive participation from community members while also developing audiences. Otherforms of community art expression may also include but not be limited to projects such asmurals created by students around construction sites, etc. The PAAC will provide opportunities to continue to work with the community to support and develop community-based quality arts programs and activities, including community-based public art.

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Specific recommended places for potential public art within the Warehouse District, as suggested by Third Coast Design Studio consultants, include the following:Gateways 1. On Washington Street south of Cedar Street near Tri-City Machine a location was identified for a future Warehouse District Gateway that extends over the street. The design was inspired by the historic architecture of the area and the physical elements of some of the industry that you find within the Warehouse District.

2. Near the intersection of Washington and Persimmon a smaller, pedestrian-scaled gateway is proposed. Also, along Washington near the Bob Michel overpass on the south/west side, there is another opportunity for a pedestrian-scaled gateway (similar to Persimmon) marking the entrance to the Warehouse District.3. The Cat skywalk near the intersection of Washington and Hamilton is another opportunity for a gateway feature into the business district. This could be an opportunity for public art as gateway.

Public Art Opportunities 4. At the north/west corner of Oak and Adams, there is an opportunity to transform the bland concrete plaza adjacent to the ballpark into a vibrant, interactive space. This is not public right-of-way, but it is a great opportunity nonetheless. There are multiple ideas for this space including a sculpture garden and spray ground. There is also an opportunity at the main entrance to the ballpark, though it is intended to be less programmed than the plaza at Oak and Adams.

5. At the intersection of State and Adams near the ballpark, there is a great opportunity for a landmark feature that would terminate the vista of State Street from the Warehouse District.

6. A right turn lane at the intersection of Washington and State that is being removed as part of the Washington Street project will be transformed into a small pocket park. This small park is an excellent opportunity for public art. The public art in this location may also be informational about the district or one of many celebrations of its heritage. There are several opportunities for art in this space, but the obvious one is the center of the compass inlay.

7. The center of the roundabout at Harrison Street is another great opportunity for public art that includes verticality and provides 360 degree viewing. This intersection also acts as a gateway of sorts, or transition, for both the Warehouse and Business districts.

8. The center of the median at the intersection of Fulton and Washington (Business District) offers another opportunity for public art that creates a terminus for Fulton right near the new museum. There are some utility issues in this area, so further investigation must be done to identify the opportunities in this location. The harshness and darkness of this overpass creates a barrier between Downtown and the Warehouse District. Public art could be used in this location to uniquely light the underside of the overpass, which could make it more inviting to pedestrians.

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In our discussions with property owners and others, May Street (alley between Washington and Adams) was identified as an opportunity for public art along a vehicular/pedestrian way.

Public Art at Intersection Several intersections along Washington were identified as opportunities for public art including Persimmon, State, Harrison, Fulton (Business District) and Hamilton (Business District). While opportunities at some of these intersections have been identified above, there could be other opportunities at these intersections.

Wayfinding at Intersection Several intersections along Washington were identified as wayfinding and/or public art opportunities including Oak, Walnut, Liberty (Business District) and Main (Business District).

Other Opportunities:The area around the ballpark can better create its identity within the framework of the Warehouse District. Concepts for interpretive wayside exhibits and other identifying elements can be concentrated around the Oak and Jefferson and Oak and Adams intersections. There may also be an opportunity to develop some unique designs that can be incorporated into the streetscape elements such as the planter fences. There is truly no shortage to public art opportunities in the Warehouse District.

2.5 FundingThe goal of public art funding opportunities is to establish a sustainable mechanism thatsupports Peoria’s commitment to public art. The PAAC will identify ways of encouraging the community to play an active role in supporting and facilitating public art opportunities within the City of Peoria, and in developing partnerships with other cultural organizations, corporations, small business, residents and community groups to:

Recognize achievements in the arts; Provide assistance for community arts programs; Facilitate exhibit space; Establish a Peoria Public Arts Endowment Fund for the long-term maintenance, preservation, conservation and acquisition of public works of art.

3. Public Art Advisory Committee (PAAC)

3.1 Composition of the PAACThe Public Art Advisory Committee will consist of representatives from such organizations as

ArtsPartners of Central Illinois, Inc., the Peoria Park District, the Peoria Historical Society, The Economic Development Council, the Peoria Art Guild, and Prairie Center of the Arts, Peoria Beautiful, and the Peoria Civic Center, Bradley University, and Illinois Central College, to name a few. It will also include several professional artists from the Peoria area.

3.2 Responsibilities of the PAAC

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Members of PAAC should demonstrate significant knowledge in the field of public art and be familiar with the City of Peoria. The PAAC: Reports to the Mayor of Peoria through the Chair. Will hold regular periodic meetings, which shall be open to the public according tothe Open Meetings Act, and shall meet as needed if required to supervise individualprojects as they emerge. Will advise the Peoria City Council on all matters concerning public art. Reviews all proposed public art projects, art work gifts, bequests and donations tothe City of Peoria. Ensures the application of established procedures and guidelines, including the accession and de-accession of public art on a project-by-project basis. Advises the Peoria City Council on communication and outreach to the community regarding public art; on the implementation of a City public art inventory; that the proper maintenance program of public art works is in place and practiced, in collaboration withmunicipal staff. Creates diverse cultural art experiences that engage the community by:(1) pursuing the active participation and cooperation of the art community, government,business, education and private sectors,(2) providing resources and opportunities for both the art community and art patronsto experience art in their daily lives, and(3) developing new and exciting cultural initiatives that encourage economicgrowth. Receives applications for public art projects, works, installations, purchases, commissions, and accepts donations and suggestions. Will submit to the Peoria City Council a report annually or as needed, providing feedback on

but not limited to:ContentNew acquisitionsAsset reviewFunding requirementsProjects integrating public art approved by the CouncilPublic response to art

3.3 Code of ConductTo ensure the fair and equitable treatment of all participants in the public art process, members

of the PAAC are disqualified from directly or indirectly benefiting from their participation in the Public Art Advisory Committee during their tenure. City policy for conflict of interest will apply.

3.4 General GuidelinesRecognizing that public art may occasionally cause controversy, these guidelines are designed to

provide a responsible public selection process, which in turn ensures that a secured

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art work is supported by the community and not subject to transient or ephemeral considerations and pressures.

In adhering to its mission the PAAC should: Report its recommendations to the Peoria City Council. Facilitate opportunities for direct and informed public involvement in the directionand selection of public art work. Make available regular opportunities to share information and provide communityeducation about the public art program.

Section 4 Collections ManagementThrough the establishment of a Public Arts Policy for Peoria and its Warehouse District, it is the

City’s intention to preserve the integrity and security of works of art. The PAAC will advise the City regarding the maintenance and long term care of City of Peoria ownedpublic art works and significant private works placed at publicly accessible sites.The costs of maintenance and insurance of public art will be incorporated into thepurchase, donation, gifting, or legal agreements as deemed appropriate, by the City,to ensure the long-term maintenance of the public art work.

4.1 Acceptance of Gifts, Donations and BequestsAll gifts, donations and bequests of public works of art to the City must be made inaccordance with the Peoria Public Art Policy. These items may be in the form ofexisting works of art or a proposal for an installation of public art on City property.Donations, gifts, and bequests of art, or the inquiry about such transactions, will besubmitted to the PAAC. The PAAC will gather data on the project in order tomake a timely recommendation to the Peoria City Council. The City Council will consider and make the final determination regarding the establishment of the respective art project, by majority vote and will direct City projects and staff accordingly.

4.2 De-accessioning of Works of ArtDe-accessioning is the procedure for the removal of an artwork from the public collection.The PAAC will advise on the de-accessioning of public art works owned by the City in accordance

with recognized museum standards, not contrary to the terms by which the City accepted it.

5. Amendments.(A) Written notice of a proposed amendment to this document may be presentedat any regular meeting of the PAAC by any member, but no actionshall be taken on a proposed amendment until the next regular meeting of thePAAC. In the event of an amendment proposed by one body, the otherbody will receive the proposed amendment. It will act upon the proposed amendmentat its subsequent meeting. All PAAC amendments will need to be approvedby the GCAC and be submitted to the City Council for approval.(B) Approval of a proposed amendment will be by a simple majority vote.

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Recommendations for a Public Art Policy submitted in March 2012 by:

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warehouse public art

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successful public art

public art project

purpose of art

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formof art

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iconic public art pieces